Navigation

Get Social

Album Review: Lazy Projector, ‘evoco’

I can only assume that the name Lazy Projector is a nod to avante-garde singer-songwriter Andrew Bird, an artist that brings full, layered sound to his poetic approach to songwriting. I’d even assume that a lot of that approach found it’s way in to Aaron Shinn’s distinct sound on evoco.

Experimental as it is structurally sound, evoco takes every chance to get weird. Horns and strings and synths and saxophone (and is that a theremin?) swell in and out of focus. A manic wave may bring a symphony of sound, and in an instance it’s gone; or a slow build will arrive sooner than anticipated, with a perfectly syncopated rhythm and you find yourself unable to stop wiggling. Through it all, a trusty foundation of strong guitars and lively percussion.

Each track carries it’s signature groove; combining forces the ten tracks form a perfectly boppable record. You know, that little toe tap, head bob, waist wiggle – that’s what you’ll be doing from start to finish. The tracks are expressed with such life and exuberance, an infectious energy fills the room inviting you to dance along to the music. I dare you not to.

There’s something timeless about the sound of evoco, and something so unironically American to it. Shrouding the album is the dazzle of old Las Vegas and the mysterious surrounding deserts tossed in with little sprinkles of a brooding New York beat poet. The stories unravel like an Americana folk tale, dust covered and honest. The guitars wail in true “Rock N Roll” fashion. The album feels old, but everything sounds so new. Regardless of the Andrew Bird comment, there’s nothing quite like Lazy Projector, nothing quite as distinct.

Lazy Projector will be celebrating the release of evoco Saturday, April 13 at the Brick in Kansas City. More info here.